Here’s the Reddit thread where this started. The short version is: /u/Takfloyd pointed out that, when you first enter a Divine Beast (and up until you activate one of its terminals), for example Vah Medoh, the music includes Morse code, beeping an SOS.
Then /u/TonesBalones and /u/Dragonaichu point out that, while there’s definitely an SOS in the left channel, the right channel plays different Morse: . . – . – – . .
So what does that mean?
I found something in the soundtrack to The Legend of Zelda: Link’s Awakening! It seems like the kind of thing I should have noticed earlier, and maybe it’s not news to you—but maybe it is.
My new text adventure is called THE ROSCOVIAN PALLADIUM and it deals with art, culture, and politics—well, it deals with the fictional politics of talking rats. It’s a rat heist in an art museum! Rats!!!
Development of my text adventures is supported by my PATREON patrons. If you like what I do, you can pledge some amount of money to send my way every time I release a game. Some Patreon folks have it set up so that you pay them every month but I don’t release a game every month so I don’t have it set up that way.
Lots of people pledge just a single American dollar per game, which means they each send me probably less than $5 a year, but none of it goes unappreciated and all of them get to view the secret Patreoneer-only Twitter feed.
At the very least you should go to my Patreon page and watch the little video I did because I am still proud of it.
🍂🐀🌕🎃🐍🚪🕷☠️👁🗨⚰
Halloween is my favorite dang thing, and I try to make the most of it. There is not enough October in a year for all the spooky stuff I want to accomplish. But, with a view toward enhancing your Halloween experience, I would like to promote here some of the Weeny things I’ve produced for your enjoyment. Pretty scary, boys and girls!
Good afternoon. Possibly you would like to learn about how I write my text adventure computer games. There are a lot of angles to this subject, and the one I’d like to focus on here is the stage right after all that horrible “coming up with an idea” and “figuring out the story” stuff—the corpus callosum between design and implementation, getting the world to a state where the player can at least walk around and look at stuff.
I’m going to assume a basic familiarity with the Inform 7 programming environment, but if you have no idea how I7 works, you may be able to glean that basic familiarity from this post. Plus you will get to see my terrible handwriting!!!
Okay, so! First I draw a map.
Continue readingPlenty!
If you are eager to know what I’m up to at any given moment then your best shot is to follow me on Twitter. Thank you for your interest!
I was lucky enough to get in on an advance version of Westerado: Double Barreled, a remake by Ostrich Banditos of their Adult Swim browser game Westerado. I wrote all about Westerado a while back, and I have plenty to say about the differences between the remake and the original—and what the differences mean to me as a game designer, and what they mean to me in terms of game genre theory—but let’s get the most superficial facts out of the way and work from there.
Only recently have I gotten around to editing and uploading a few episodes of CLASH of the TYPE-INS that Jenni and I recorded with Emily Short way back in September or something. Now they are all up, though. The episode where we play Bronze was crazy good, in my opinion: Some IF design-theoretical issues got brought up and Emily expounded on them with a cogency that Jenni’s and my antics often lack. If you listen to only one episode of our dumb podcast this year, make it Episode 10.
But you should listen to all of them! Why not?